music theory

Music Theory v 1.0 This is the book Music Theory (v 1.0) This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/ 3.0/) license See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and make it available to everyone else under the same terms This book was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz (http://lardbucket.org) in an effort to preserve the availability of this book Normally, the author and publisher would be credited here However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed Additionally, per the publisher's request, their name has been removed in some passages More information is available on this project's attribution page (http://2012books.lardbucket.org/attribution.html?utm_source=header) For more information on the source of this book, or why it is available for free, please see the project's home page (http://2012books.lardbucket.org/) You can browse or download additional books there ii Table of Contents About the Author Acknowledgments Dedication Foreword Preface Chapter 1: The Elements of Rhythm: Sound, Symbol, and Time Durational Values: Symbols Representing Time in Music 10 Pulse, Tempo, and Meter 20 Music Notation Practices 32 Additional Information 43 Summary 53 Chapter 2: The Elements of Pitch:Sound, Symbol, and Tone 54 Pitch and Pitch-Class 55 Chromatic Alteration: Accidentals 62 The Keyboard as a Visual Tool 67 Register Designation, The Octave, 8va, and 8vb 72 Pitch Notation: Nomenclature and Solfége 77 Moveable C-Clef; Other Clefs 80 Summary 86 Chapter 3: The Foundations Scale-Steps and Scales 87 Scales and Scale-Steps 88 Heptatonic Scales: The Major Scale, The Three Forms of the Minor Scale 91 Solfége Revisited 102 Heptatonic Scales: Introduction to Modes 106 Other Commonly Used Scales 113 Summary 120 Chapter 4: Key Sense, Key Signatures, and The Cycle of Fifths 121 The Sense of Key: Attributes 122 The Cycle of Fifths as a Mnemonic Device 123 Relative and Parallel Keys 124 Closely-Related Keys 125 Modes Revisited: Transposing Modes, Construction and Identification 126 iii Chapter 5: Intervals 127 Simple, Compound and Multiple Intervals 128 Interval Identification Procedure: The Two Evaluative Criteria 129 The Interval Placement Diagram 130 Interval Inversion 131 Interval Construction Procedure 132 Interval Identification and Construction Below a Given Pitch 133 Chapter 6: Chords 134 Introduction and Definitions 135 The Harmonic (“Overtone”) Series 136 Triads: Four Types, Inversion, and Basic Symbolization 137 Chord Labels and Primary and Secondary Triads 138 The Conditional Status of Second Inversion Triads 139 Introduction to Seventh Chords: Five Basic Types 140 Other Common Trichords and Seventh Chords 141 Larger Chord Structures: Upper Dominant Discords and Non-Dominant Upper Extensions 142 Basic Chord Symbolization 143 Chapter 7: Basic Analytical Techniques: The Four Parameters 144 The Purpose of Analysis 145 Tonal Music: Expectation and Iteration 146 Roman Numeral Analysis (RNA) 147 The Figured Bass Tradition and its Use in Analysis 148 Categories of Chord Progressions: Expectations in Tonal Harmony 149 Chapter 8: The Cadence 150 Definition and the Sense of Closure in Music 151 Melodic Cadences 152 Final (Conclusive) and Non-Final (Inconclusive) Cadences 153 Harmonic Cadence Types 154 Procedure for Evaluating and Identifying Cadences 155 Chapter 9: Melodic Elaboration I: Non-Harmonic Activity 156 Non-Harmonic (Non-Chord) Tones 157 Types of NHT 158 Procedure for Evaluating and Identifying NHT 159 The Suspension Figure 160 iv Chapter 10: Harmonic Elaboration I: Seventh Chords 161 Origins of Seventh Chords as Non-Harmonic Activity 162 Expected (Typical) Use of Seventh Chords 163 Evaluating Seventh Chords in Contrast with Non-Harmonic Origins 164 Other Uses of Seventh Chords 165 Chapter 11: Chromaticism: Evaluating Tone Outside of the Prevailing Key 166 Essential versus Inessential Chromaticism 167 Modulation and Tonicization: Similarities and Contrasts 168 Modulation: Attributes and Closely Related Keys 169 Types of Modulation: Common Chord, Direct (Phrase), Chromatic, Remote, Chain 170 Tonicization: Applied Chords or Secondary Functions 171 Introduction to Altered Chords: Mode Mixture 172 Chapter 12: Formal Organization: Small Part Forms 173 Form as a Meta-Rhythm 174 The Motive: The Irreducible Creative Gesture 175 Expansion: Sub-Phrase, Phrase, Period, Double Period 176 Phrase Extension and Phrase Elision 177 Small Homophonic Part Forms: Binary, Ternary and Rounded Binary 178 Expansion and Magnification: Textbook Models of Larger Forms 179 Chapter 13: Concise Forms: Composing in the Vernacular Style 180 Characteristics of Tonal Melody 181 Common Chord Progressions 182 Argot, Jargon, and Slang in Popular Song 183 Typical Formal Patterns 184 The Blues 185 Chapter 14: The Four-Voiced Setting: The Chorale and The Chorale Setting 186 Introduction and Purpose of Study 187 SATB Chorale Style 188 Proscriptions and Prescriptions: Adherence to the Style 189 Active Tones, Voice Range, Doubling, Position 190 Chapter 15: Voice-Leading Procedures: A Positive Learning Approach 191 Introduction and Purpose of Study 192 Root Position Triads: Root Motion and Prescribed Procedures 193 Root Position Triads: Conditional Procedures 194 Triads in Inversion: Prescribed Procedures 195 Complete Procedural Table 196 v Chapter 16: “Emulative” Composition 197 Introduction and Purpose of Study 198 Realizing Simple Figured Bass in SATB 199 Realizing Simple Figured Bass in Keyboard Style 200 Procedure for Harmonizing a Given Melody 201 Chapter 17: Melodic Elaboration II Adding NHT to a Basic Setting 202 Enhancing a Setting using Appropriate Embellishment 203 Restrictions 204 The Suspension Figure: Review and Construction Procedure 205 Cadential Elaboration 206 Other NHT 207 Chapter 18: Harmonic Elaboration II: Adding Seventh Chords to a Basic Setting 208 Review and Common Use of Seventh Chords 209 Tendency Tones 210 Resolution of Seventh Chords: General Procedures for Voice Leading 211 Special Resolution Procedures 212 Chapter 19: Appendix A: Common Musical Terms 213 Chapter 20: Appendix B: Upper Dominant Discords and Non-Dominant Upper Extensions 214 Chapter 21: Appendix C: Generalized “Textbook” Models of Larger Forms 215 Chapter 22: Appendix D: Realizing Chord Changes and Some Typical Jazz Chord Voicings 216 vi About the Author Mark Andrew Cook Mark Andrew Cook serves as Director for Music Theory and Composition at Shepherd University He is also a member of the Jazz Studies Faculty Prior to his appointment at Shepherd, he served as a member of the Music Theory Faculty and was the Jazz Ensemble Director at The Catholic University of America Additionally, he served as an Adjunct Music Theory Instructor at Towson University He also taught Music Theory, Jazz Studies, History and Applied subjects at Montgomery College He served as the Director of Jazz Ensembles and Wind Ensemble, and as Music Director and Conductor for The Montgomery College Symphony Orchestra In addition to teaching at Shepherd University, Dr Cook is Guest Lecturer in Music Theory and Composition at The Barbara Ingram School for the Arts He received his B.M.ed from the Peabody Institute of the Johns Hopkins University, and both his Master’s degree and Ph.D in Music Theory from The Catholic University of America, his dissertation being an analysis (proportional organization and set analysis) of Paul Hindemith’s symphony Die Harmonie der Welt He is an active composer and performer in both the Classical and Jazz styles and has many performing and recording credits Acknowledgments The author would like to thank the following colleagues who have reviewed the text and provided comprehensive feedback and suggestions for improving the material: • • • • • • • • • • • Kurtis Adams, Shepherd University Laura Renninger, Shepherd University David Gonzol, Shepherd University Scott Beard, Shepherd University Chris Vadala, University of Maryland, College Park William Hollin, The Barbara Ingram School for the Arts Scott Benford, Washington County (MD) Public Schools Michael Thorsen, Principal, The Barbara Ingram School for the Arts Paul Garvin Taylor, The Catholic University of America Steven Strunk, The Catholic University of America Lawren Diana Hill In addition, a select group of instructors assisted the development of this material by actually using it in their classrooms Their input, along with their students’ feedback, has provided us critical confirmation that the material is effective in the classroom: Dedication In Memoriam Dr Robert Wayne Ricks He always compelled me to “take a closer look and let the Music tell its own story.” Foreword This text is primarily designed to serve as a textbook for a college-level music theory fundamentals course However, it also has the flexibility to serve equally well for a typical core curriculum college-level Music Theory I or Harmony I course Our goal is to deliver sufficient information to enable the student to be able to evaluate and analyze select music from the literature as quickly as is practical Secondly, we seek to provide sufficient instruction to enable a student to begin writing music as quickly as is practical In order to develop a complete argument, it is important that the student understand that this text “assumes a blank slate.” No prior knowledge on the part of the student is assumed In order to give Instructors greater flexibility we have intentionally provided content that may exceed the course objectives in some institutions We anticipate that instructors may want to adjust the material in the text to match their current course content, or adjust their courses to make use of all of the content in this text Chapter 17 Melodic Elaboration II Adding NHT to a Basic Setting PLEASE NOTE: This book is currently in draft form; material is not final 202 Chapter 17 Melodic Elaboration II Adding NHT to a Basic Setting 17.1 Enhancing a Setting using Appropriate Embellishment PLEASE NOTE: This book is currently in draft form; material is not final 203 Chapter 17 Melodic Elaboration II Adding NHT to a Basic Setting 17.2 Restrictions PLEASE NOTE: This book is currently in draft form; material is not final 204 Chapter 17 Melodic Elaboration II Adding NHT to a Basic Setting 17.3 The Suspension Figure: Review and Construction Procedure PLEASE NOTE: This book is currently in draft form; material is not final 205 Chapter 17 Melodic Elaboration II Adding NHT to a Basic Setting 17.4 Cadential Elaboration PLEASE NOTE: This book is currently in draft form; material is not final 206 Chapter 17 Melodic Elaboration II Adding NHT to a Basic Setting 17.5 Other NHT PLEASE NOTE: This book is currently in draft form; material is not final 207 Chapter 18 Harmonic Elaboration II: Adding Seventh Chords to a Basic Setting PLEASE NOTE: This book is currently in draft form; material is not final 208 Chapter 18 Harmonic Elaboration II: Adding Seventh Chords to a Basic Setting 18.1 Review and Common Use of Seventh Chords PLEASE NOTE: This book is currently in draft form; material is not final 209 Chapter 18 Harmonic Elaboration II: Adding Seventh Chords to a Basic Setting 18.2 Tendency Tones PLEASE NOTE: This book is currently in draft form; material is not final 210 Chapter 18 Harmonic Elaboration II: Adding Seventh Chords to a Basic Setting 18.3 Resolution of Seventh Chords: General Procedures for Voice Leading PLEASE NOTE: This book is currently in draft form; material is not final 211 Chapter 18 Harmonic Elaboration II: Adding Seventh Chords to a Basic Setting 18.4 Special Resolution Procedures PLEASE NOTE: This book is currently in draft form; material is not final 212 Chapter 19 Appendix A: Common Musical Terms PLEASE NOTE: This book is currently in draft form; material is not final 213 Chapter 20 Appendix B: Upper Dominant Discords and Non-Dominant Upper Extensions PLEASE NOTE: This book is currently in draft form; material is not final 214 Chapter 21 Appendix C: Generalized “Textbook” Models of Larger Forms PLEASE NOTE: This book is currently in draft form; material is not final 215 Chapter 22 Appendix D: Realizing Chord Changes and Some Typical Jazz Chord Voicings PLEASE NOTE: This book is currently in draft form; material is not final 216 ... produces musically artistic expressions of its own time, its own musical aura The study of Music Theory is the means by which we investigate this A Definition of Music Theory Music Theory is... music roughly spanning the 17th- through the 19th Centuries The role of music theory has expanded far beyond this mandate: theory training now incorporates greater or lesser explanations of music. .. sequence? Additionally, music theory has become a favored required Arts elective in College and University curricula, and most music programs have a developmental music theory class to address